First, gentle and kindly reader, let us discuss sculpture in its most
literal sense: after that, less realistically, but perhaps more
adequately. Let us begin with Annette Kellerman in Neptune's Daughter.
This film has a crude plot constructed to show off Annette's various
athletic resources. It is good photography, and a big idea so far as the
swimming episodes are concerned. An artist haunted by picture-conceptions
equivalent to the musical thoughts back of Wagner's Rhine-maidens could
have made of Annette, in her mermaid's dress, a notable figure. Or a
story akin to the mermaid tale of Hans Christian Andersen, or Matthew
Arnold's poem of the forsaken merman, could have made this picturesque
witch of the salt water truly significant, and still retained the most
beautiful parts of the photoplay as it was exhibited. It is an
exceedingly irrelevant imagination that shows her in other scenes as a
duellist, for instance, because forsooth she can fence. As a child of the
ocean, half fish, half woman, she is indeed convincing. Such mermaids as
this have haunted sailors, and lured them on the rocks to their doom,
from the day the siren sang till the hour the Lorelei sang no more. The
scene with the baby mermaid, when she swims with the pretty creature on
her back, is irresistible. Why are our managers so mechanical? Why do
they flatten out at the moment the fancy of the tiniest reader of
fairy-tales begins to be alive? Most of Annette's support were stage
dummies. Neptune was a lame Santa Claus with cotton whiskers.
But as for the bearing of the film on this chapter: the human figure is
within its rights whenever it is as free from self-consciousness as was
the life-radiating Annette in the heavenly clear waters of Bermuda. On
the other hand, Neptune and his pasteboard diadem and wooden-pointed
pitchfork, should have put on his dressing-gown and retired. As a toe
dancer in an alleged court scene, on land, Annette was a mere simperer.
Possibly Pavlowa as a swimmer in Bermuda waters would have been as much
of a mistake. Each queen to her kingdom.
Public-domain text, read in full here on John Shaqi.
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